One movement in this work contains four bars of a march that interrupts a melody in strings augmented by bells. The first movement of this composition contains a solo for oboe d'amore that follows a flute quotation of the Scottish folk song "The Keel Row." This piece's last movement opens with French horns playing over a quiet, nebulous string ostinato; that movement also prominently quotes a folk song, "Nous n'irons plus au bois." The first part of one movement in this work opens with a theme in the woodwinds and castanets; that section, Par les rues et par les chemins, precedes Les parfums de la nuit and Le matin d'un jour de fete, the two other sections in that movement. That movement develops techniques this piece's composer first used in the "La soiree dans Grenade" movement of his Estampes. Consisting of Gig
One movement in this work contains four bars of a march that interrupts a melody in strings augmented by bells. The first movement of this composition contains a solo for oboe d'amore that follows a flute quotation of the Scottish folk song "The Keel Row." This piece's last movement opens with French horns playing over a quiet, nebulous string ostinato; that movement also prominently quotes a folk song, "Nous n'irons plus au bois." The first part of one movement in this work opens with a theme in the woodwinds and castanets; that section, Par les rues et par les chemins, precedes Les parfums de la nuit and Le matin d'un jour de fete, the two other sections in that movement. That movement develops techniques this piece's composer first used in the "La soiree dans Grenade" movement of his Estampes. Consisting of Gigues, Iberia, and Rondes de printemps, for 10 points, name this three-movement orchestral composition by Claude Debussy, the second of three sets of compositions he gave this name.
One movement in this work contains four bars of a march that interrupts a melody in strings augmented by bells.
{Images pour orchestra} [or {Images} for {orchestra}]